You can't have a collection of blues progressions that delve into the minor side of things and not explore this next set of changes. Just like the Allman Brothers took "Call It Stormy Monday..." to whole new level, so did B.B. King with a tune called the "The Thrill is Gone". With it's harmonic minor leanings laced with Dorian-esque comping ideas, this jam is one for the ages.

The Dorian element presents itself in the second chorus, where major triads built off the 4th degree of the primary harmony are played with some slippery phrasing that always bounce back to the main chord. That idea is pushed ahead in the third chorus where you have the added chords that are either pro-Dorian or fragmented extensions of the primary.

The stand out change is heard in bar 9 where for the first time you'll play a bVImaj7 chord (Gmaj7) that just kills. From there the progression takes a half step descent to a harmonic minor V7 chord (F#7), which resolves nicely to the im7 (Bm7) in bar 11.